Beggars Banquet - The Rolling Stones - album review

One or two critics have asserted that Beggars Banquet, released by The Rolling Stones in 1968, is the greatest album of the Sixties. I might not go that far myself, but it is certainly a wonderful album, and one which helped to usher in the band's most creative and turbulent period.

The group, clearly ill-at-ease during the psychedelic era, appeared to be much more at home in 1968's changing cultural and social climate.  They were also more comfortable performing rootsier music, and these sounds somehow more closely reflected and complemented the uneasy or revolutionary sentiments which were supposedly prevalent in '68.

Beggars Banquet also witnessed a solidifying of the Jagger-Richards axis, as their songwriting became ever more prolific and and focused, and Brian Jones' influence gradually diminished.  Did the image of Keith Richards as the "heart and soul" of the Stones arise from necessity, as he was obliged to perform many of the functions previously undertaken by Jones?

In the past, I have tended to view some of the songs on this record as trite or lacking in cultural finesse, trying a little too hard to reflect the tenor of the times. However, after repeated scrutiny I would say that surprisingly little of it sounds corny or misjudged nowadays. I wasn't around in 1968, so I can't comment on how it might have sounded in the context of what was "going on" in those days.  The Beatles did seem to evoke the uncertainty and edginess of the time more acutely on "The White Album", with a minimum of effort and the conspicuous absence of any soap-box, but then again popular perception would have expected the Stones to put out a more overtly "angry" and visceral commentary.

The sound and production have a distinctly earthy flavour to them, redolent of honest toil, and therefore in keeping with the ethos which may or may not have been underpinning the project. Whether this was a conscious effort is difficult to say; what is certain is that the album would not have had the same gravitas and vigour had it been given a smoother and more polished sheen. The guitars (both electric and acoustic) sound splendid throughout.

As opening tracks go, "Sympathy For The Devil" takes some beating, and does kind of set the tone, both musically and atmospherically. The Stones had hinted at such "menace" in the past, but here was its most vibrant and stark manifestation. Opinions may vary as to precisely what Mick and Keith were getting at here, but none can deny that it captures the essence of the album and the popular image of 1968.

If "Sympathy For The Devil" is seen as being a standard-bearer for the spirit of Beggars Banquet, then tracks such as "No Expectations" and "Dear Doctor" are its DNA, with their acoustic bluesy rawness. The former features one of Brian Jones' last notable musical contributions as a member of the Rolling Stones, in the form of his haunting slide guitar part. The rendition of "Prodigal Son" is in a similar vein.

Of course, another song which attracted, and continues to attract, much attention is "Street Fighting Man", with its nicely ambivalent lyrical outlook and its blistering acoustic guitars. What it perhaps lacks in melodic subtlety it more than makes up for in power and robustness, and the instrumentation is pleasingly fuzzy.

I used to dismiss "Jigsaw Puzzle" as superior and stylish filler, but over time it has grown on me. The lyrics sound less and less like a poor man's Bob Dylan the more I listen to them, and the melody is deceptively vibrant and clever. Some more good slide guitar here, and nice separation between the instruments ensures that the rhythm section and the piano can be appreciated with some clarity.

Some people might dismiss "Stray Cat Blues" as a mere prototype for future Stones endeavours, or even "Stones by numbers", but in my view it is one of their finest and most formidable album tracks. Many elements coalesce to make it memorable, including the riffs and feline guitar lines, Charlie Watts' muscular drumming, and Jagger's lascivious vocal delivery.

The set is concluded with the two most obviously "blue collar" and "proletarian" items, "Factory Girl" and "Salt Of The Earth". "Factory Girl" is a rather charming and unpretentious number.  The song which follows it is musically strong, although the "anthemic" choruses can be grating, and the excessive second half of the song rather spoils the effect for me . Very much "of its time", and it is therefore churlish to be too harsh forty-seven years later.

I would say that Beggars Banquet ranks very high for me as far as Stones albums are concerned, second only to Exile On Main Street I would say.  There is very much a demarcation between what was recorded in 1968 (we should include the single "Jumping Jack Flash" in such deliberations) and what had gone before. This record is not as immediately enjoyable or accessible as Sticky Fingers, Some Girls or even Let It Bleed, and it might seem like hard work to begin with, but soon enough its abrasive self-confidence becomes evident.  Essential to an understanding of the Stones and the evolution of their music.

Some Girls - The Rolling Stones - album review

Much misty-eyed mythology surrounds the recordings which the Rolling Stones made during the period 1968-72, and indeed those prior to that, and it is commonly asserted that much of the band's existence since then has been spent living off past glories, and that their albums have often been made on auto-pilot. However, the 1978 record "Some Girls" emphatically gives the lie to this view, and stands comparison in its own way with anything in the Stones' catalogue.

There were numerous reasons for this sudden re-invigoration.  Personal problems, creative inertia and a changing musical landscape appeared to be conspiring against the Stones as the Seventies moved towards their conclusion. People were asking whether the Stones were still relevant,and if they had run out of steam artistically.  This tight and zestful set was an resounding response to such misgivings.

Being perceived as having their backs to the wall, the defiance shines through on "Some Girls", as if they were simultaneously putting a metaphorical two fingers up to the world, and revelling in the refuge and escape offered by music. It has often been said that this was the point where Mick Jagger began to stake a claim to de facto leadership of the band, but the sentiments were collective.

The focus, energy and strength of purpose could not present a starker contrast with the relative lethargy and nebulousness of the previous three studio albums. Yes, the emergence of punk and disco did contribute to the album's mood and content, but not to the extent that the Stones simply wrote and recorded "punk and disco songs". They absorbed the ethos and vitality of those two genres, and the consequences revealed themselves naturally within a broadly familiar framework. This is still very much a "Rolling Stones album".

One of the most startling features of "Some Girls" is the dearth of instrumental padding and decoration. Many of the songs are performed at a hefty rate of knots, reflecting perhaps a mixture of anger, frustration and even liberation from the directionless and torpor of the years which went before. The modern Stones sound is taking shape, seen in the guitar interplay and the nature of the riffs.

The resolve possessed by the band is amply displayed on the album's opener, "Miss You". Much has been made of its "disco" leanings, but I would also argue that it is part of the broader trend of rock bands in the Seventies to embrace more rhythmic and funky patterns (Little Feat, Steely Dan). The sleazy electric piano and guitars, and punchy rhythm section, allied with a sneering Jagger vocal, give it its potency

The breathless immediacy which pervades most of "Some Girls" really kicks in on the second number, "When The Whip Comes Down". Freshness in abundance.

The pace is maintained with the cover "Just My Imagination (Running Away with Me)". This is not a straight cover version, and the Stones' rendering shows a strong power pop/new wave sensibility.  It has a spontaneity to it, as if it was being performed at a sound check a few hours prior to a gig. This is not a criticism, and a lack of the over-reach and artifice often associated with cover versions is a joy to behold.

Moving on to the title track, and leaving aside the controversial lyrics, this son typifies the approach and mood on the album. Very bluesy and raw, accentuated by the harmonica and the ragged vocal harmonies. The Stones' "bad boy" image and notoriety was kept flickering by songs like this. The melody is simple and straightforward, but powerfully delivered.

"Lies" is stripped down, frenetic, almost minimalist.  "Meat and potatoes" one could say, but a statement of intent, and far from dull or pretentious. "Respectable" is similar in character, but is marginally more tuneful, and lyrically more decipherable, if not containing much in the way of emotional or psychological depth!

Of all the Stones' excursions into the domain of country music, "Far Away Eyes" is one of the most authentic and sincere, but equally one of the least entertaining or memorable. Some relief is introduced by "Before They Make Me Run", forming the usual Keith-on-lead-vocals slot, with what appear to be semi-autobiographical lyrics.

"Beast of Burden" is one of the most durable of Rolling Stones songs. High quality pop/rock which has stood the test of time. This one contains more intricate guitar work, and a more considered and complex melody. The album closes with "Shattered", another quick and sparse rocker, exhibiting a vaguely 50s flavour, and redolent of some of the New Wave sounds which would appear in the years ahead. A slightly odd choice to conclude the album?

So there we have it, "Some Girls" by the Rolling Stones. No-nonsense rock n roll, packing a considerable punch, and exuding the restless vigour of the those times. After this, the Stones enjoyed a new lease of life, and it was both a symptom and a cause of their continuing strength. Above all, it is an enjoyable and important collection of songs.